Top 1200 Funny Character Quotes & Sayings - Page 19

When you're doing comedy, it is so subjective. What is funny to you is not funny to another person. What is dirty to you is not dirty to the other person. Comedy is one of those things you throw against the wall and see what sticks.

The magic in performing as an entertaining ventriloquist happens when the characters come to life and the interaction between the separate personalities on stage becomes 'real.' Then don't forget that the act has to be funny, and to me, being funny and entertaining any given audience is more important than anything.

Every character needs an adversary - one who is both challenging and a contrast for the hero. The best adversaries reveal something about the character they're contrasting.

Reynie's fce fell. 'It's not funny, Kate.' For a moment - a fleeting moment - Kate looked desperately sad. 'Well, of course it's not funny, Reynie Muldoon. But what do you want me to do? Cry?

I think David Letterman is a genius. Night after night he is funny and smart. He seems to really enjoy his jokes. They seem connected to who he really is. I like watching him, and there is no one better at turning an awkward moment into something very funny.

I would love nothing more to participate in a real struggle to find a character, and really delve into and develop a character. That's why I'm an actor.

When I was in college, I had a friend who was an artist and her theory was that all the best art in the world is funny/sad. That was her favorite genre. Funny/sad are probably my two favorite tones.

I like good stories. Quality products and character are what's important. Even if the script isn't that strong, if I challenge myself with a great character, I'll go for it.

The middle class is so funny, it's the class I know best, and it's the class where you find the most pretension, so that's what makes the middle classes so funny.

My thing about looking good is that it should be the character. If I'm playing a character who's concerned about his body - an athlete, say - I'll get in shape. If I'm playing a character who doesn't or wouldn't, I don't. I almost never get in shape for a movie, even though I know it would be a good career move.

I try to think of something catchy to say, but there's nothing but irritation that something that was funny yo an eleven-year-old boy is still funny to a seventeen-year-old one.

I never base a character on someone I know. You can get ideas from real life, but every character you write is some aspect of yourself.

I probably would never be able to direct a comedy because I'm not that funny. I don't have that funny bone in me, so it wouldn't be a natural fit. But I love the world of science fiction, and I love the world of technology and science too.

I don't think comedy is something you learn. I think it's something that's either there or it's not. When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.

I have my website, The Ruckus, which is an Internet site, similar to the Funny or Die format, where people post funny videos. I get a chance to rate their videos; they get a chance to blog and kick it with me.

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.

Bette Davis had very strong opinions and was not afraid to express them. She wasn't afraid of anything that I ever saw. And she was so funny. She's just funny and she was laughing all the time.

It's funny looking at yourself. You know how it is when you look back at old pictures? It's just funny looking back at yourself walking and talking at age 14.

Well, I think it can be quite helpful to be working on a character who actually existed, historically. Of course, you might have material to study and help you create the character.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

I always say, if I tell you a joke right now and it's funny, you laugh. Now, we set the lights, and I tell you the joke again, it's hard to find it funny the second time.

I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.

Getting out of a character is emotionally taxing. You get used to being a person on camera, and when you move on, the character remains with you for a long time.

When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.

In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

As an actor, it's important to feel for the character, as you will be watched by audience, and when you start feeling your character, you share a sense of happiness and achievement.

When I say something funny, I don’t laugh, so my friends are always like, ‘Hahahahaaaa!’ so people know. When I’m not with them, I always think, This person doesn’t know I’m funny; they just think I’m a jerk.

I don't have any single character that is my favorite because I would like to be known for the sum total of my work and not for an individual character that I might have played.

Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.

There is no such thing as playing someone else's character. Every actor takes a character and makes it his/her own while enacting it on screen.

Strangely enough, the first character in Fried Green Tomatoes was the cafe, and the town. I think a place can be as much a character in a novel as the people.

Children are 25 percent of the population but 100 percent of the future. If we wish to renew society, we must raise up a generation of children who have strong moral character. And if we wish to do that, we have two responsibilities: first, to model good character in our own lives, and second, to intentionally foster character development in our young.

I always felt that it was easier to take a funny person and teach them to write television than to take somebody who was a television writer and make them funny.

Anybody can go onstage and be dirty. You have to be funny, that's the key. You can say anything as long as it's funny. You can't take it too seriously up there. And people coming to see you can't take it too seriously.

Character: The ability to carry out a worthy decision after the emotion of making that decision has passed. Character simply stated is doing what you said you were going to do. If you develop a reputation for that, do you have any idea the effect that has on self-perception? Its immense, just immense. The Savior was a man of character. He did everything he said he was going to do.

Heart and head are the constituent parts of character; temperament has almost nothing to do with it, and, therefore, character is dependent upon education, and is susceptible of being corrected and improved.

Humor is not funny. Humor is something else. Funny is a joke, sometimes silly. Comedy is deep and connected to tragedy; comedy could be deeper than tragedy, in my view.

It's funny how you can look back in life and there are all these 'if's' - if this hadn't happened would I have been here? If I hadn't done this would I have ended up talking to you? It's funny how life is seriously just a bunch of those moments.

I always thought when I was doing more melodramatic stuff like Everwood that the directors were constantly reeling me in and stopping me from being funny. I've always tried to find a funny angle on things, and 99 percent of the time, it just doesn't work.

It's just so funny that when I was growing up, I was very much of an Australian. I just thought it was funny that there was this war, like, 'No, she's ours, she's practically a Miss Australia.' But I am a Miss Philippines.

I'm really proud of it. To me, it's a movie about character behavior and the pecking order of the pack, as well as the central character's massive survival guilt.

I guess, as an actor, you have to bring something personal to the character - you've got to identify and love one element of the character, or else you can't really inhabit and find ownership.

What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.

I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'

There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.

Even though the 'Shooter' character on TV is so close to the real-life me, I'm still playing with ways to creatively portray that character.

You get to the end of something, you're laughing, you're like, 'That's funny, and that's funny,' and then you get to the end, and the credits come down, and you're like, 'That's it?! That's the whole thing?! You had me here for that?!' I just don't want to do that.

It's funny looking at yourself. You know how it is when you look back at old pictures? It's just funny looking back at yourself walking and talking at age 14

There is always something funny going on between scenes with Adam Sandler. He's always cracking jokes and yelling at people for no reason. It's pretty funny. He'll joke around during scenes, too. When he guest-starred on 'Jessie,' there was nothing in the script that he said first take.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

Well, I mean, if a joke or humor is bawdy, it's got to be funny enough to warrant it. You can't just have it bawdy or dirty just for the sake of being that - it's got to be funny.

Nowadays they have 12 directors and 15 producers and 30 writers. And all the writers want their lines said a certain way-which isn't necessarily funny. I mean the lines aren't necessarily so funny to begin with.

You mostly know that you want to be funny, know that you have the desire. It's not like people who grow up beautiful and can look in the mirror and be like, I'm beautiful! Funny is more of a journey. And a desperate attempt.

Habits are funny things. What's funny, or rather tragic, is that bad habits are so predictable and avoidable. Despite this, there are people by the millions who insist on acquiring habits that are bad, expensive, and create problems. The habit they weren't going to get, got them!

Andy Parsons was always very funny. He was in a double act with a guy called Henry Naylor. Dan Mazer was always a very funny guy.

I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.

Dubbing can change the 'sur' of the character. Doing it for another actor and to make it believable is tricky but interesting because you do not know the graph of the character.

What's interesting about Laurel and Hardy is that in most comedy teams, there's a straight man, and then there's the funny guy. And with Laurel and Hardy, they're both the funny guy.

The big problem for comic art is you don't want to overwork it. If a drawing is overworked it isn't funny. It's the spontaneity that keeps a work fresh and funny. If they can see how hard you work, if they can see the beads of sweat, it's no good. I always try to make it look easy.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.